Irmgard Gottschlich
breast-drawing III, 2000
pencil on transparencpaper,
20 x 29 cm
"...here the elementary icon
of round is not the wheel, but the female
breast. One could develop
a wild feministic imagination about very
different cultural developments,
but the car covered with several
breast is not meant that
serious. Irmgard Gottschlich is more concerned
about healthy completeness
and disturbance of such round harmony.
The particularly fine and
diverse drawings on transparent paper
have been fastened to the
window pane and are being looked at in
a back light, no matter
if by day from inside to the outside, or in the
evening from the outside
to the inside. By this they reproduce a cut
between public and private,
just like for example the situation of
mammography does, one of
the drawings shows this x-ray scenario..."
From rundRund
opening speech by Hajo Schiff
on 04.10.02.
Einstellungsraum für
Kunst im Straßenverkehr
Claudia Hoffmann,
Delta 13 P / 1488, 2002
Watercolor and aluminium
on handmade paper, 175 X 113 cm
The basic motive is according
to the flat projection
of the hub cap delta 13
P / 1488, 2002.
In the square middle field
of the picture there is twice the positive
form to be seen: silver
star in yellow round area. The broad border
areas of the picture show
silver negative forms of the hub cap motive.
The arrangement of these
single elements have come about by 'driving
around' the middle field.
These negative forms do form this pattern
string in a running movement.
Clearly to be seen is the rhythmic succession.
Like the mark of the wheel
profile so does each hub cup when driving
make its own visionary pattern.
In contrary to the wheel profile this
pattern is free of technical
driving necessities and serves as lovely
decorative art for the wheel.
C.H.
Olga B. Runschke
"Erde und Himmel sind leergegessen"
(Earth and heaven have been
eaten up)
Installation at a wall or
in a niche of a corner
Child's table, white with
pencil drawing,
Six waste paper baskets,
white, transparent,
An illuminated globe
Five black and white photographs,
children's plates
Book, white , with ribbons
around it.
Four table sets in holders
(wasimmerdas ist).
Plastic with red apples
print
Birdfeeder house, white
, illuminated
Three white roses
Headset with story:
'the blue zeppelin"
extensions altogether about
250 x 150 x 100 cm
The installation "Erde und
Himmel sind leergegessen"
makes hunger, needyness,
longing for food
of whatever kind, which
often is in vain its theme.
The things and materials
of this work have been
chosen and arranged mainly
according
to substantial criterias.
About the roundness in this work
The disturbed round
The absence of round
Pretended roundness - pseudo
round
The hunger
Of the tummy - the head
- the soul
Hunger for the love apple.
A wastepaper basked has been
slipped over the world round.
The plate as food carrier
lies in the waste paper basket.
The apples of paradies as
print on plastic.
O.B.R.
Heidemarie Sischke
nestconstruction, 2002
wood, 400 x 400 cm, 2002
'Animals are able to a vast
amount of social and technical
accomplishments but they
did not invent the wheel. I have said that
before about early human
cultures: it does not mean that they wouldn't
be capable of building round
shapes. Of course I am talking particularly
about birds'nests. In the
sense of positioning and stating 'home'
Heidemarie Sischke has been
building a large nest since spring 2002
in Bahrenfeld, with a conscious
closeness to a busy street.
With about 4 meters in diameter
only the nest structures have been built
so far, like a bird she
collects the building material individually from
parks nearby. The finishing
touches she suspects will take another year
.
What this means in relation
of movement and stop page, of sensiblely
constructed roundness
and speedy stop page in visible distance,
this in its poetry is certainly
expressed to anyone obviously,
especially as this us likely
not the first try to do this. And of course
everything is documented
precisely -
some photographs are there
on the wall.'
Out of rundRund, Opening
speech by Hajo Schiff on 04.10.02
Einstellungsraum für
Kunst im Straßenverkehr
Llaura I. Sünner
swimming rings, 1998 / 2002
wood, diameter max.33 cm,
colour, water basin 80 x 60 cm
The swimming rings should
be able to move freely in water body.
This of course is not possible
within a room, a limited spaced exhibition.
Trial for simulating.
'it does not aim well':
closed signal-red rings (central focus) - moving
transparent water (osmosis,
decentralized).
Having been sawed out of
one piece the rings get smaller into the depth
of the water, they centralize
themselves. Through movement focussing is
enforced. The floating
of the rings in the water, their movement
(which is influenced by
circumstances outside, like direction of flow,
wind....) does not make
a new aim visible, but a different point of
view, new concentration.
They move tiredly and reduced, as they allow
water to flow through, they
take their time.
In the exhibition the circles
are put into a water basin, not unlike a
wash table. The body of
water is small, movement
reduced: static centralizing
- flexible concentrating.
Llaura Sünner 2002
Elke Suhr
Benz and Plotin on the go
in light and shadow, 2002
chalk drawing, 80 x 60 cm,
silverbromide on cardboard,
70
x 230 cm
"The central cultural significance
of the automobile and its internal
combustion engine has been
her (E.S.) concern for years.
Indeed she has found close
formal and technical similarities in form and
function with early automobiles
and their first motors with alchemical
trial configurations and
systems of world order. She lays open
the automobile as an exstasy
machine through which
solid matter is made to
move and earthern live is made spiritual into
air - the oil of the earth
becomes cracked
to petrol and is gazed into
air. The four-stroke-sequence
sucking-condense-ignition/=working-exhausting
does find its parallels
as easily in biology as
in historical teachings and secret instructions
of transformations processes.
In addition there is the
shifting of energy from vertical or horizontal
back and forth to
a circular movement. And one does not only have to
read 'hin und her' - wrongly
read as 'him and her' - on the fat chalk
diagram over there, to notice
the obvious sexual subtext in the the
order of the machine, which
is surprisingly usable for
safe-doctrine in the 3 photographs
next by, also by
Elke Suhr we do not see
energy float out of a functioning machine: here
thrown-away hub caps are
meeting, like exponents of a dark and of a
light world, und the company
sign of the car maker wins its old
ambivalence back between
energy lightning and
warning sign and reminds
even to a rune, the familiar "S" out of
"Youngest Futhark", as it
should read correctly in a linguistic way."
Out of: rundRund
Opening speech of Hajo Schiff.
on oct. 4th, 2002
Einstellungsraum für
Kunst im Straßenverkehr
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